5 Itivritta: Theme and Development

Dr. Bhandaram Vani

Introduction

Sanskrit dramaturgy has an important place not only in Indian literature, but in the world literature as well. Dramaturgy in Indian literature has a long tradition. Natya is another and perhaps a wider term for drama or the dramatic art, and is called so because it represents the different situations in life. Drama is known as Drishya kavya seen and exhibited, while the other compositions in literature like poetry are called as Sravya kavyas which can be only heard and recited. In the drama, the subject matter is represented by actors assuming particular characters evoke Rasa – sentiment –which is its chief element.

Natyashastra aimed at audience of different age groups to react to different types of acting and scenes like the young audience are interested in the love story, aged audience enjoy stories of virtue and philosophical, heroic audience enjoy the heroic deeds of the hero, children do enjoy the comic scenes, women appreciate good costume and make-up etc. Lord Brahma explains the nature and purpose of Natya as not just narrating the story of either demons or Gods or humans, but it speaks of the imitation of the happenings in the three worlds. Natya presents righteous, evil, peace, war, humor, love hatred, creation and destruction etc. Natya deals with various ideas and ideologies and states of mind, imitating the actual life of three worlds, the pain & pleasure experienced by the humanbeings. The play Itivrita – the plot and its production on the stage enjoy equal status in a dramatic representation. The themes of Natya are taken out of the narratives from history, legends, Vedas and Shastra and are presented in an enjoyable way.  The thematic values’ being instructive by nature promotes not only gives good counsel but strength, peace of mind and enjoyment too. Thus the purpose of Natya (drama / creative work) is to provide good counsel, enlightenment, longevity, peace and happiness, entertainment and create Rasa (aesthetic experience) through the medium of Bhava or emotion.

When the nature and purpose of Natya has been explained thus the demons that were disturbing the production and everyone were pacified. Lord Shiva pleased with the production and appreciated them and addressed saying, the Natya is a beautiful way which is conducive to fame, well being, piety and intellectual advancement. (AhoNatyamidam samyaktvayasrushtammahamate, yashsyam ca shubhartham ca punyambuddivivardhanam) (NS IV, 12). In order to achieve the purpose of drama Bharata gave some necessary instruction to authors and actors that contribute much to the development and effect of the drama. Since these are not incidental but essential has validity any time. Nataka or a creative art should have a proper script and its presentation involves in commissioning of several arts and crafts like literature, histrionic expressions, dance, vocal and instrumental music painting sculpture and architecture. The comprehensiveness of drama covering whole range of all possibilities gives pleasure to those who witness or read a production of the poet though their tastes may vary.

The literary work which is an instrument or basis for the presentation of a spectacle is called Rupaka as the actors assume the physical forms of the characters played by them. They are mainly divided into Rupakas and Upa – Rupakas.

In Rupakas the story, dialogue, establishing characters and message are most important and song and dance take secondary place whereas music and dance predominate in Uparupakas. Bharata classifies Rupakas into ten depending on the text, its treatment and number of acts, etc. They are Nataka, Prakarana, Anka, Vyayoga, Bhana, Samavakara, Vidhi, Prahasana, Dima and Ihamriga and Nalika which is divided from Nataka and Prakarana. The Uparupakas are of 18 types in which Natika, Sattaka, Trotaka, Prekshanaka, and Prakaranika are well-known. In Chapter XVIII, Bharata deals with all the above in great detail. Nataka is the most important among the ten major forms of play. In Chapter xix Bharata mentions the details above the plot the Itivritta its structure and development.

Among Dasarupakas Nataka and Prakarana are given priority due to the plot (the Itivritta) developed systematically in them. As Nataka became source of inspiration for all the forms of Rupakas to the extent that Nataka is used as synonym of any kind of Rupaka. The characteristics of Nataka enumerated by Bharata in the Chapter XIX 139-142 are not only applicable to Nataka alone but for any kind of literary art. “A Nataka should have 5 Sandhis – divisions, Vrittis – modes of expression, 64 Sandhyangas – Sub divisions and 36 Lakshanas – poetic embellishments. A Nataka written by an author should have pleasant diction, be easy to comprehend, embrace various emotions, Rasas, actions and incidents and should be embellished by the figures of speech etc. Such a Nataka, when produced by competent – authors and actors who divest themselves of their natural demeanor will please audience.” 

Bharata started to explain the creation and development of drama (Nataka) keeping in the view these comprehensive characteristics.

The Itivritta – the theme or the main story of the Kavya or the play is called as the body comprising five divisions. The author should select a good story and the proper form of Rupaka then proceed to weave the story in to a well constructed attractive plot. The stories (theme) are of three varieties – (1) Prakhyata – well known, (2) Utpadhya – fictional and (3) Sankirna – mixed. The story should have a purpose and it should be achieved by the hero of exalted nature. The Ramayana and Maha Bharatas have supplied many stories for the poets to develop their art .The themes chosen by them have been changed slightly to give a special charm, glory and dramatization. The plot again is of two kinds, (1) Adhikarika – Principal and (2) Prasangika – Incidental. The Adhikarika Itivritta is the story that revolves around the hero and attainment of particular result and its exaltation with the assistance which the author ( poet ) plans by means of the associated heroes ( Upanayakas ) resorting to rules. Prasangiketivritta is that any incident mentioned for helping any other incident to enhance the value of main plot. The minor characters act in their own interest incidentally further the purpose of the hero of main story. Prasangika-the subplot is again of two kinds – Pataka and Prakari. Pataka is an episode is introduced to give an additional interest and progress in the plot while assisting the hero to achieve the purpose. This may extend a considerable length and also may extend till the end of the drama. Whereas Prakari is an episodical incident of a limited duration to help the hero to achieve the purpose.

Since it is not possible to depict the whole life story of hero on the stage, but some incidents which are necessary for achieving the purpose of the play and also progression which may not be stage worthy have to be suggested to the audience. Tragic incidents like death, battles, and the utterance of the curse, sleep, kissing and others are expressly forbidden from being shown on the stage. Such scenes and all others which are difficult to be depicted on the stage like flying up in the sky, travelling to long distance and those which are considered unnecessary to be shown on the stage are conveyed to the audience through five Arthopakshepakas – suggestive devises known as Vishkambha – supporting scene, Pravesaka -introductory scene, Culika – intimating speech, Ankavatara – transitional scene and Ankamukha-anticipatory scene.

The first two are in the form if conversation on these forbidden matters. The Viskambha is pure ( suddha ) when middle characters speaking in Sanskrit take part and is mixed (misra) when middle characters speaking in Sanskrit and low characters speaking in Prakrta. The Pravesaka, is not allowed to occur in the first act, as the low characters speaking in Prakrta. So it will not take part in the first act. The Chulika connects any two acts through an announcement made behind the curtain. The Ankavatara is indicated by the absence of the characters at the beginning of an act by, thus showing it to be in continuation of the previous one. The Ankasya or Ankaasya makes a reference to what follows in the succeeding act by the characters of the previous act.

These five devices are employed to explain or suggest the time period etc, the inner meaning of the incident, and also the importance of the particular episode, and coming up events. Any incident or episode which neither have any direct relation with the main story nor helps in progression of the story should not be included in these suggestive devices. There are certain other stage directions, such as Apavarya – aside, Atmagatam – self, and Janantikam – to the audience and others, which permit the actors on the stage to speak to one or two among themselves in a manner that it isaudible only to the audience leaving the other actors.

The entry of a new character to the stage is made by the announcement to that effect by a character already present on that stage. To denote the urgency of the entry, sometimes a character enters by a toss of the curtain. Certain other devices are also adopted to further the progress of the plot, such as the writing of love letters, painting the figures of lovers, dance, a play with in a play, and so on.

The plot should be developed appropriately using five Karyavasthas -executive processes for the achievement of an objective. The efforts of the hero are delineated in five stages. They are (1) Prarambha – the Begining (2) Prayatha – the effort (3) PraptiSambhava – the possibility of attainment (4) Niyatapti – visualization of the certainty of success (5) Phalaprapti attainment of Result. The desire to achieve the purpose takes the germ ( Bija ) is followed by necessary striving towards the attainment of purpose, assessment of the possibility which results on the certainty of success and finally desired purpose in achieved. These five stages executed together in the progress of the story conduce to the fruition. These are called Karyavastas – the executive process. These five processes indicate the mental stages of the hero. The reason why it is stated that Nataka and Prakarana should have five or more acts is because each of these processes has to be executed in each one act. These are five successive stages of every action begun by persons look forward for desired results. In case of incidental plot ( praasangika ) this rule will not apply as it serves the purpose of another plot.

The five stages of plot (executive processes) have five corresponding elements of the plot. These elements that promote the Karyavastas are called as Arthaprakritis – the causations. They are five. (1) Bija – Germ, (2) Bindu – Prominent point (3) Pataka – Episode (4) Prakari – sub-story and (5) Karya – denouement. The plot is in the Bija form which is the cause to start ( expands itself in various ways and ends in fruition ) and in the Bindu form it spreads till the end of the play even when the cause is suspended with an effort, in the Pataka form the characters get their purpose served and in the Prakari form an event is introduced only to help the hero to attain success to a certain extent and disappears from the story and the Karya is the form where the efforts made for the purpose of the principal plot are introduced. In other words the Bija is the cause to start, the Bindu is the cause for effort the Pataka is the cause of possibility, the Prakari is the cause of certainty and the Karya is the cause for the result. Bija, Bindu, Karya are necessary in all works, and Pataka and Prakari can be used whenever they are required. The Pataka and Prakari causations should end at the developmental stage of drama or at the pause, because they are treated for a different purpose other than the main story. Hence it is the responsibility of the author to choose effective incidents and episodes that have to be presented in various acts with continuous thread of unity. He should make it comprehensive without losing the continuity of the story.

The causations ( ArthaPrakritis ) relating to various processes (Karyavastas) and suggestive devices ( Artho – pakshepakas ) maintain the continuity of the story while Sandhis – divisions closely unite the story. The process of connecting the various incidents in play or a poetical work is called Sandhi – the division. It is the responsibility of the author to select an effective story and present it with the division of acts without losing the continuity thread of unity. He should make it comprehensive by grouping incidents in such a way that it maintains the continuity of the story. The division into acts is external providing respite to both the actors and audience. The division into Sandhi is internal, achieving unity in the progression of the plot.

The poetical composition should have these following five sandhis – divisions. Bharata named them as (1) Mukha Sandhi – opening juncture (2) Pratimukha Sandhi – progression or expanding division (3) Garbha sandhi – developing division (4) Vimarsha Sandhi – the pause and (5) Nirvahana Sandhi – concluding division. The division into acts is external providing respite to both the actors and audience while Sandhi – the juncture is the internal achieving unity in the progression of the plot.

In general the five acts in a play are associated with five divisions. If the acts are less in a Play , then each act may have more than one Sandhi, if acts are more than five in a play Sandhi may have to be expanded to the next act. Mukha Sandhi is the opening in which the germ (desire) is created in the mind, In Pratimukha sandhi uncovering of the germ (expression of desire) takes place which is sometimes perceptible, sometimes lost, In Garbha Sandhi – the sprouting of the germ (prospect of desire), in Vimarsha Sandhi is pause over the germ that has sprouted (sudden turn in the progression leading to suspense about the achievement) and in the last Nirvahana Sandhi – brings all the objects together (successful achievement of the desire) finally attains fruition.

Each Sandhi – division again has as its Angas – sub divisions 64 in all together.

Sub-divisions of Mukha Sandhi (12): Upaksheepa – suggestion, Parikara – Enlargement, Parinyaasa – establishment, Vilobhana – allurement, Yukti -resolve, Praapti – attainment, Samaadhaana – settling, Vidhaana – conflict of feelings, Paribhaavana – surprise, Udbheeda – disclosure, Karana – resumption and Bheeda – parting.

Sub-divisions of Pratimukha Sandhi (13) : Vilaasa – amorousness, Parisarpa – pursuit, Vidhuuta – denial, Taapana – apprehension, Narma – playful joke, Narmadyuti – willful joke, Pragamana – responsive dialogue, Niroodha – impediment, Paryupaasana – pacification, Pushpa – interesting statement, Vajra – curt replies, Upanyaasa – reasoning and VarnaSamhaara – union of various characters.

Sub-divisions of Garbha Sandhi (13) : Abhuutaaharana – misstatement, maarga – indication, Rupa – hypothetical statement, Udaaharana – overstatement, Krama – imaginative interpretation, Sangraha – winning over, Anumaana – inference, Praarthanaa – request for enjoyment, Aakshipti – revelation, Totaka – indignant statement, Adhibala – deceitful outwitting, Udveega – dismay, Vidrava – panicky apprehension.

Sub-divisions of Vimarsa Sandhi (13) : Apavaada -censure, Sampheeta – rebuke, Abhidrava – insolence, Sakti-conciliation, Vyavasaaya-assertion, Prasanga – revered reference, Dyuti – contemptuous statement, Kheeda – lassitude, Pratisheedha -opposition, Viroodhana – prevention, Aadaana – summing up, Chaadana – forbearance, Prarocanaa – precursion.

Sub-divisions of Nirvahana Sandhi (14) : Sandhi – injunction, Viboodha -vigilance,  Grathana – assembling, Nirnaya – declaration of facts, Paribhaashana – accusation, Dhriti – substantiation, Aananda – bliss (pleasure), Samaya – deliverence, Prasaada – satiation, Upaguhana -surprise, Bhashana – clever speech, Purvavaakya – retrospect, Kaavyasamhaara – conclusion, Prasasti – blessing.

The five executive processes, five Sandhis – divisions and sixty four sub divisions interpret the progress of the play to audience serving as beneficiary accomplices for the achievement of the main object. An experienced author need not put any effort to incorporate all these in his poetical work / drama. All the subdivisions may not be present in the play. These sub-divisions contribute to the building up emotions and there by realization of Rasa.

Sandhyangas serve some important purposes like 1.Ishtaartha Racana – expatiating on the desired objective,2. Vrittaanta anupakshayam – maintain the continuity of the story without detriment to the main objective, 3. Prayoga ragapraapti – making up the production impressive, 4. Guhya Guhanam – concealment of the aspects that are to be concealed, 5.Aascarya Abhikhyanam – inclusion of an element of surprise and 6.Prakasya Prakaasanam – exposition of the required aspects.

In case of an author the knowledge and application of Sandhyangas develops a consistent story and in case of an actor he can express the emotions that produce the proper Rasa in the audience in case of audience their interest will increase. So the author, actor and audience enjoy the play and the purpose of the play will be well served.

When all the aspects of story are not expressed by Sandhyangas (which might be detrimental to the main objective) then intermediary divisions are employed. They are 24 Sandhyantaras – intermediary divisions. When some matter being taken in hand another matter of similar nature is suggested through an accidental idea it is called (PatakaSthanaka) dramatic irony. There are four kinds of Patakasthankas – dramatic irony that are employed in a play along with five divisions and sub-divisions. The four kinds of Patakasthankas – dramatic irony are 1.Artha Sampatti – The sudden development of a novel meaning due to an indirect suggestion. 2.Slishtam – Words completely carrying double meaning and expressed in a poetic language. 3. Arthopakshepanam – That which suggests with courtesy the object of a play in a subtle manner and in the form of a dialogue. 4. Vacana vinyasa – Words with double meaning expressed in a well-knit poetic language and having a reference to something (NS XXI 30-34).

The four Vrittis – modes of expression that are found in a play or poem differentiates one form of play from another. They are made a repository of the various states and sentiments. Vritti is man’s activity results from mind, word and body to achieve certain objective. That is why vritti-modes of expression are called as Natyamaatruka-mother of dramatic representation, the constituent of all dramatic works including poetry. They are Bharativritti-proper vocal expression, Saatvativritti – emotional expression, Kaishikivritti – the delicate expression, and Arabhativritti – energetic expression. Bharata says he derived Bharativritti – proper verbal expression from Rig-Veda, Saatvativritti – emotional expression from Yajurveda , Kaishikivritti- the delicate expression from Samaveda , and Arabhativritti – energetic expression from Atharveveda . Each of these has sub-divisions which can be adopted according to the need.

Bharativritti – Proper verbal expression are of four varieties 1.Prarochana-laudation, 2. Amukha – introduction, 3.Vithi and 4 Prahasana. Amukha the introduction of the character on to stage is of 5 types1.Udghata – accidental interpretation 2.Khatodghata – opening of story, 3.Prayogatishaya – particular presentation, 4.Pravrittaka – personal business, 5 Avalagita – transference.

Saatvativritti – emotional expression is endowed with the sattva quality, the Nyayas, metres and has exuberance of joy and consists of the word, the gestures and the acts showing of sentiment. This is also four types 1.Uttapaka – challenges,2.Pravrittaka – change of action, 3.Sallapaka -exchange of harsh words 4.Samghataka – breach of alliance.

Kaishiki vritti – the delicate expression is interesting on account of graceful costume worn by mostly women, dance and singing is included and other amorous actions are expressed. This style is also motivated by the mind, the word and the body. There are four types 1.Narma – pleasantry, 2.Narma – beginning of pleasure 3.Narmasphota – revelation of pleasure, and 4. Narmagarbha – covert pleasure.

Arabhativritti – energetic expression includes mostly the qualities of a bold person, such as speaking many words, deceit, falsehood and where vigorous physical action like falling ,jumping fighting etc is expressed. It has four varieties 1.Sankshiptaka – Compression, 2.Avapaata – commotion, 3.Vastoothaapana – raising various feelings, and 4.Sampheta – conflict.

Nataka and Prakarana are full with histrionic expressions hence all these four Vrittis definitely appear when they are presented. All these vrittis –styles of expression are intermixed with one another but generally one mode of expression gains prominence. The importance of the style is determined by the Rasa it is intended to produce. Bharata specified that a mode of expression produces a particular rasa. Kaishiki vrittti should be employed to produce Sringara Rasa and Hasys Rasa , Satvativritti for Vira Rasa, Adbhuta Rasa and Santa Rasa, Arabhativritti for Roudra Rasa and Bhayanaka Rasa,Bharativritti for Bhibhatsa Rasa and Karuna Rasa.

Bhatara has enumerated thirty-six gunas – embellishments like Bhushana-ornament, Arthasanghata – brevity, Shobha – brilliance etc and defined them. These embellishments are based on emotions and follow them. Propriety with reference to Rasa should be taken care in providing these embellishments. A creative author can effectively use the embellishments that seem to be very ordinary but lend a different meaning .Poetic embellishments are innumerable depending on the creativity of a genius poet.

Finally, when an author who tries to writing a play or poem, he should choose the life story of an ideal hero, pick-up attractive and interesting episodes and incidents, screen them, alter them from the view point of propriety, creation of Rasa dramatic values, stagebility etc.

Then the subject (Itivritta) should be made into five divisions (Panca Sandhis) with the five executive process, five suggestive devices ,five causations sixty four sub-divisions, and four modes of expression, thirty six poetic embellishments, subsidiary and intermediary divisions ,four dramatic ironies to make a schedule / screen play for a well-knit plot – The Itivritta.

Drama is the imitation ( anukarana ) of the ways of the world involving the various emotions and deferring circumstances It gives peace, entertainment and happiness, as well as beneficial advice based on the actions of high, low and middle people. It brings rest and peace to persons affected by sorrow or fatigue or grief or helplessness. There is no art, no knowledge, no yoga, and no action that is not found in drama. The perfect screen-play will achieve the purpose of the art. Thus with all these ideal thoughts of Indian mindset the dramatists proceeded and proceeding with the creation of drama in abundance.